Editorial boutique 3008 has launched production services with turnkey work for a spot, “Creators,” introducing the new Chrysler 200 to the Hispanic market.
“Entering into production has been a longtime goal and ambition,” said Brent Herrington, 3008 editor/partner. “We didn’t want to have a production arm just for the sake of saying we can also shoot; we wanted to do it right with the right team and we believe the Chrysler 200 spot demonstrates our intentions perfectly.”
With plans to expand the roster, 3008’s current directors are Shawn Fedorchuk, previously with Digital Kitchen, Seattle, where he was an editor turned director, and director/DP Brad Walker, who directed and shot the Chrysler 200 spot.
The Chrysler 200 project began as an adaptation of the general market spot by replacing a few scenes with Hispanic talent. “The scope of the project quickly grew as the client became more excited with the vibrant scenarios that we were presented with in Mexico City,” said Walker. “The result is a turnkey production; a completely fresh lifestyle spot that strikes an authentic tone with the help of genuine Hispanic craftsmen, designers and performing artists.”
The shoot consisted of a pair of 16-hour days in several Mexico City locations, mixing actual artisans with talent. “The spot’s premise of ‘we are creators’ took over and, despite challenges, we were committed to shooting conceptual lifestyle footage with real moments,” said Walker.
The :60 is set to music from composer Gustavo Santaolalla’s 1990s soundtrack for Motorcycle Diaries, titled “Apertura.” Santaolalla has two Oscars (Babel, Brokeback Mountain) for his achievement in writing music for motion pictures.
“I heard the piece from Motorcycle Diaries before shooting and that was a huge advantage because the music resonated with the concept and helped set the pace and tone,” Walker said.
Gabriel Silva, executive producer at agency Richards/Lerma, noted, “When we realized that we had to do more than adapt the general market spot to make it work for the Hispanic market, it took everyone’s 100 percent commitment of heart and passion to make this happen because neither the budget nor schedule changed with the more ambitious plan.”
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More